政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/37102

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/37102

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题名:	以參數化程序產生具情緒表達能力之3D肢體動畫 Designing Parameterized Procedures for Real-Time 3D Figure Animation with Affective Expression
作者:	林岳黌 Lin, Yueh Hung
贡献者:	李蔡彥 Li, Tsai Yen 林岳黌 Lin, Yueh Hung
关键词:	程序式動畫人類肢體動畫風格動畫情緒動畫情緒表達力 procedure animation humanoid bodily animation style animation emotional animation affective expressness
日期:	2008
上传时间:	2009-09-19 12:09:34 (UTC+8)
摘要:	人或擬人生物佔眾多動畫主題的大部份，而要使人物動畫看起來栩栩如生，除了適當的臉部表情外，能夠傳達人物情感的肢體動作更是不可或缺。本研究的目標在於以電腦程序產生帶有情緒成份之人物肢體動畫。此目標包含兩個子目標：第一、設計以人類肢體動作為目標的參數化程序，以提高程序之重用性及泛用性，降低製作程序式動畫的成本，並製作出以關鍵格為基礎之人物動畫；第二、將我們製作的動畫加入風格，並以心理學實驗驗證人物的動作和情緒的關聯。我們的實驗先將風格套用於走路動作上，來證明我們操弄風格的方法符合大眾的認知。再者，我們針對走路動作嘗試以實驗找出風格和情緒的對映，再將此對映關係套用到具特定情緒意涵的動作上，以證明這些對映有助於情緒的表達。 Human or human-like creatures are the main subjects of computer animations. In addition to facial expression, body gestures and motions are also indispensi-ble components for realistic character animation. The goal of this research is to create emotional character animation with computer procedures. This goal may contain two subgoals: first, we aim to design parameterizable animation proce-dures for human body motions in order to reduce the cost of producing key-frame based character animations with improved generality and reusability; second, we incorporate style into procedural animation and validate the relation model between emotion and motion with psychology experiments. We first ap-plied different styles into the walking motion and conducted experiments to see if the participants can agree with the way that we manipulate the style parame-ters. Furthermore, for the walking motion, we conduct experiments to find the mapping from the emotion parameters to the style parameters. Then we applied this mapping to emotion-specific motions to see if the animations perceived by the users can be further enhanced.
參考文獻:	[1] K. Amaya, “Emotion from Motion,” in Proc. of the Conference on Graphics Interface, 1996. [2] I. Bartenieff and D. Lewis, Body Movement: Coping with the Environment, Gordon and Breach Science Publishers, New York, 1980. [3] M. Brand and A. Hertzmann. “Style Machines,” in Proc. of SIGGRAPH ‘00, 2000. [4] A. Bruderlin and T. W. Calvert, “Goal-directed, Dynamic Animation of Human Walk-ing,” in Proc. of SIGGRAPH 1989, 1989. [5] A. Bruderlin and T. Calvert, “Knowledge-Driven, Interactive Animation of Human Run-ning,” in Proc. of the Conference on Graphics Interface, 1996. [6] A. Camurri, I. Lagerlof, and G. Volpe, “Recognizing Emotion from Dance Movement: Comparison of Spectator Recognition and Automated Techniques,” International Jour-nal of Human-Computer Studies, 59(1): 213-225, 2003. [7] A. Camurri, B. Mazzarino, M. Ricchetti, R. Timmers, and G. Volpe, “Multimodal Analy-sis of Expressive Gesture in Music and Dance Performances,” in Proc. of the 5th Inter-national Workshop on Gesture and Sign Languages Based Human-Computer Interaction, 2003. [8] A. Camurri, M. Ricchetti, and R. Trocca, “EyesWeb - Toward Gesture and Affect Rec-ognition in Dance/Musicinteractive Systems,” in IEEE International Conf. on Multime-dia Computing and Systems, 1999. [9] P. F. Chen and T.Y. Li, “Generating Humanoid Lower-Body Motions with Real-time Planning,” in Proc. of Computer Graphics Workshop, 2002. [10] D. Chi, M. Costa, L. Zhao, and N. Badler, “The EMOTE Model for Effort and Shape,” in Proc. of SIGGRAPH ‘00, 2000. [11] E. Crane and M. Gross, “Motion Capture and Emotion: Affect Detection in Whole Body Movement,” in International Conf. on Affective Computing and Intelligent Interaction, 2007. [12] C. Darwin, The Expression of the Emotions in Man and Animals, London: John Murray, 1872. [13] C. Dell, A Primer for Movement Description: Using Effort-Shape and Supplementary Concepts, Dance Notation Bureau, Inc., New York, 1970. [14] A. Egges and N. Magnenat-Thalmann, “Emotional Communicative Body Animation for Multiple Characters,” in First International Workshop on Crowd Simulation, 2005. [15] A. Egges, S. Kshirsagar, and N. Magnenat-Thalmann, “Generic Personality and Emo-tion Simulation for Conversational Agents,” Computer Animation and Virtual Worlds, 15(1): 1-13, 2004. [16] P. Ekman, “An Argument for Basic Emotions,” Cognition and Emotion, pp. 169-200, 1992. [17] G. V. Glass and K. D. Hopkins, Statistical Methods in Education and Psychology (3rd edition), Allyn & Bacon, Boston, 1995 [18] K. Grochow, S. L. Martin, A. Hertzmann, and Z. Popović, “Style-Based Inverse Kine-matics,” in Proc. of SIGGRAPH ’04, 2004. [19] B. Hartmann1, M. Mancini, and C. Pelachaud, “Implementing Expressive Gesture Syn-thesis for Embodied Conversational Agents,” in Gesture Workshop, 2005. [20] T.Y. Li, P. F. Chen, and P, Z, Huang, “Motion Planning for Humanoid Walking in a Lay-ered Environment,” in Proc. of IEEE International Conf. on Robotics and Automation, 2003. [21] T.Y. Li, M.Y. Liao, and J.F. Liao, “An Extensible Scripting Language for Interactive Animation in a Speech-Enabled Virtual Environment,” in Proc. of the IEEE Interna-tional Conference on Multimedia and Expo, 2004. [22] V. Maletic, Body, Space, Expression: The Development of Rudolf Laban’s Movement and Dance Concepts, Mouton de Gruyte, New York, 1987. [23] W. McCay, Gertie the Dinosaur, 1914. [24] H. K. M. Meeren, C. C. R. J. van Heijnsbergen, and B. de Gelder, “Rapid Perceptual In-tegration of Facial Expression and Emotional Body Language,” in Proc. of the National Academy of Sciences, 2005. [25] J. Montepare, E. Koff, D. Zaitchik, and M. Albert, “The Use of Body Movements and Gestures as Cues to Emotions in Younger and Older Adults,” Journal of Nonverbal Be-havior, 23(2): 133-152, 1999. [26] C. L. Moore and K. Yamamoto, Beyond Words: Movement Observation and Analysis, Gordon and Breach Science Publishers, New York, 1988. [27] V. Nayak and M. Turk, "Emotional Expression in Virtual Agents through Body Lan-guage," in International Symposium on Visual Computing, 2005. [28] M. Neff and E. Fiume, “Methods for Exploring Expressive Stance,” in ACM SIG-GRAPH/Eurographics Symposium on Computer Animation, 2004. [29] R. Parent, Computer Animation: Algorithms and Techniques, Morgan Kaufmann. [30] K. Perlin, “Real Time Responsive Animation with Personality,” IEEE Transactions on Visualization and Computer Graphics, 1995 [31] H. Schlosberg, “A Scale for Judgment of Facial Expressions,” Journal of Experimental Psychology, 29: 497-510, 1941. [32] F. Thomas and O. Johnson, Disney Animation: The Illusion of Life, Abbeville Press, 1984. [33] M. Unuma, K. Anjyo, and R. Takeuchi, “Fourier Principles for Emotion-based Human Figure Animation,” in Proc. of SIGGRAPH ‘95, 1995. [34] R. Urtasun, P. Glardon, R. Boulic, D. Thalmann, and P. Fua. “Style-based Motion Syn-thesis,” Computer Graphics Forum, 23(4): 1-14, 2004. [35] H. G. Wallbott, “Bodily Expression of Emotion,” in European Journal of Social Psy-chology, 28(6): 879-896, 1998. [36] K. Yin, K. Loken, and M. van de Panne, “SIMBICON: Simple Biped Locomotion Con-trol,” in Proc. of SIGGRAPH ‘07, 2007. [37] L. Zhao and N. I. Badler, “Acquiring and Validating Motion Qualities from Live Limb Gestures,” Graphical Models, 67(1): 1-16, 2005. [38] EyesWeb Project, The, <http://www.infomus.dist.unige.it/eywindex.html> [39] H-Anim, <http://www.h-anim.org/> [40] IKAN(Inverse Kinematics using Analytical Methods), < http://cg.cis.upenn.edu/hms/software/ikan/ikan.html> [41] VRML, <http://www.w3.org/MarkUp/VRML/>
描述:	碩士國立政治大學資訊科學學系 93753039 97
資料來源:	http://thesis.lib.nccu.edu.tw/record/#G0093753039
数据类型:	thesis
显示于类别:	[資訊科學系] 學位論文

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